What other options?

[CommonCourtesy]

Hmm maybe not then, Warpig was something I thought about but Nailbomb jumped ahead when switching out the Aftermath. Just thought with the lighter weight of the guitar it'd give it more punch.

Channel 3 on a Diezel is one of the most erotic tones I've heard!! Unfortunately they cost £3k or somewhere thereabouts, though my 6505+ isn't a bad alternative at all, at half the price!

[Dave Sloven]

To give an idea of how dark the Warpig was in my Explorer, I could get doomy sounds like Masters of Reality era Black Sabbath but not brighter sounds like old Venom in C# standard (both bands played in that tuning), regardless of amp EQ.  In the SG I can get both by adjusting the amp EQ.  Doom metal was a relatively bright setting in the Explorer compared to the SG.  Also the cleans were really dark and warm sounding in the Explorer.  They are fine in the SG.

[CommonCourtesy]

Yeah at rehearsals I always get "can you make your sound more trebley..." and "take some low end off" lol. Don't know if its the amp I'm using, the string gauge or the pick up. I'm taking my 6505+ to the next rehearsal as we're just blasting through the set for a gig a couple of times, will mess about with the EQ then, usually do an even steven amount of bass/mids/treble, 5/5/6 but I set the resonance up to 7/8.

[Dave Sloven]

I usually have my resonance control at 4 or 5.

I get a reasonable amount of treble out of my Explorer with the A-Bomb in it; it was just the Warpig that was the problem in that guitar.  I haven't played live with that guitar except at the Punx Picnic last year though, the rest of the gigs have been with my SG Junior (Stockholm), which is more cutting (mainly because it's an SG).

[CommonCourtesy]

Hmm I'll turn it down to 5/6 at the next rehearsal, see what Mr Bass man says about that haha. Think he complained at a gig once to take some low end off!

Where do you set your presence? I usually have it in the middle on 5 cos I'm never really sure what its meant to do to the tone.

[Dave Sloven]

I have to play through different cabs sometimes, but when I play through my Orange cab the presence is generally around 6.  If I turn the volume down or play through a different cab sometimes I will wind it up as high as 8 or 9 to compensate.

A friend of mine has his resonance and presence cranked right up, same with his low and high, and the mids scooped right out.  Works for him (and he is in the rhythm role, the lead guitarist uses more mids) but it's very scooped sounding.  I tend to use a lot more mids than him and back the bass off quite a bit.  I do have an extra EQ pedal that I can use to get a scooped sound when I need it, I find that better than having it scooped all of the time

[CommonCourtesy]

Sounds about right, if I attempt to play at home on my marshall cab the volume rarely reaches about 1 so I whack the res and presence up. Live I think I turn it down a bit cos I can crank the amp volume which raises the bass.

Usually its a Marshall (or on a couple of occasions an Orange cab if I'm lucky) cab I am lent to play through live. Will try turning the presence higher than the resonance at the rehearsal, cos I know I will have the post-gain above 2.

[Dave Sloven]

The Orange cabs have more bottom end (especially the straight-fronted ones) so you can afford to turn the resonance down

The resonance control was basically developed by Peavey as a way to compensate for changes between cabinets and rooms with regard to bass response, so it makes sense to adjust that first when you feel the cab sounds too 'boomy'

When I first got my amp and I only ever played it on 1 then I used to crank the presence as high as 9 or 10.  That is just to compensate for the lack of punch at low volumes.  As you turn up the post gain you need to back off the presence, at least until you get to 2.5 or 3, where the characteristics of the amp are in full voice and turning it up is just raising the volume

[CommonCourtesy]

I'll start with both at 5 and then twiddle about during the rehearsal, see where I end up. I never really find I have to turn anything up on the EQ about 7, pre-gain I turn up to 4 max on the lead channel, 2.5 on the rhythm to give some breakup on the 'clean' channel. Use a TS9 to tighten things up.

[CommonCourtesy]

Ok, so last night I had my amp with me at rehearsal. Made a huge difference in the sound, I cut through the mix ALOT better and it was a whole lot heavier.

Used a Marshall 1960A cab, and started with resonance/presence controls at 5. Throughout the set run throughs I raised and lowered each knob, but kept it around 5/6 most of the time, the tone sounded "thin" to me, but I didn't want to go too far in bass man territory by pushing it to 7/8. Pre-gain was 3.5 and volume was 2.5, on 3 it was already louder than the drum cymbals lol.

Maybe at tonight's show it'll work cos the bass will cover the lower frequencies so I sit nicely in the mid section, whilst the lead guitarist has the higher trebley tones covered. Hopefully the sound man will encourage me to whack the post-gain up!

[Yellowjacket]

Setting up tones for a 2 guitar band is definitely a challenging task.  Being the only Electric means you can dial in as a huge and phat of a tone as you want and you will be heard.  With the two players, you need be very careful where you sit in the mix and having two distinct tones is actually beneficial.  Generally, when I play in my metal band, we dial in very mid focused tones that are quite dry and we have individual rigs.  My rhythm guitarist uses my old 2 channel Dual and I use his Mark V, both amps are generally EQ'd with a lot of midrange and the bass tamed quite a bit.  Today, the rhythm guitarist was using my OD pedal to tighten up the recto and it helped out quite a bit. 
With his Rhoads V with a Dimebucker in the bridge, he ran the OD with the volume up but with the tone down, but for his drop tuned 7 string, he turned up the tone quite a bit.  I find that a Drop C# tuned 6 string is still quite mid focused but with a mahogany 7 string, it gets dark very quickly and the boost is almost required to keep things tight and focused.

I'm glad you figured out the 'resonance' thing.  Usually, those low frequencies are awesome for bedroom playing or practicing, and work best live when they are shut off. 

[CommonCourtesy]

Yeah, I mean we both play different guitars and amps, and handle opposite ends of the spectrum, so I think it works well. Just have to be careful not to go too close to bass player territory when tuning that low. I think I will leave my resonance and presence around 5/6, unless I get told to turn down. Bass and mids always on 5, treble 6. Resist temptation to turn pre-gain above 3.5 as well.

Didn't help last night we didn't have a proper soundcheck and was constantly being hassled to "get ready to go" by the soundguy to play in 10 minutes, he don't seem to realise I have one set of hands and the gear storage room is miles from the stage!!